According to Maori ethos, Tama-nui-to-ra, the Sun God, had two wives,
Hine-raumati, the Summer maid, and Hine takurua, the Winter maid. The
child born to him and Hine-raumati was Tane-rore, who is credited with
the origin of the dance. Tane-rore is the trembling of the air as seen
on the hot days of summer, and represented by the quivering of the hands
in the dance.

Before the white man arrived in Aotearoa (New Zealand), the Maori people
would use the Haka to request peace before war. The Haka was performed
fiercely to warn opposing tribes. This would allow hostiles to retreat
before committing to war. On occasions the Haka went on for days at a
time with both tribes performing turn for turn.

Haka is a display of strength, honour and passion. It meant that the
people of the land would do anything possible to defend themselves win
or lose.

Today, haka is defined as that part of the Maori dance repertoire where
the men are to the fore with the women lending vocal support in the
rear. Most haka seen today are haka taparahi, haka without weapons.

More than any aspect of Maori culture, this complex dance is an
expression of the passion, vigor and identity of the race. Haka is not
merely a past time of the Maori but was also a custom of high social
importance in the welcoming and entertainment of visitors. Tribal
reputation rose and fell on their ability to perform the haka (Hamana
Mahuika).

Haka reflected the concerns and issues of the time, of defiance and
protest, of factual occurrences and events at any given time.